1800년경 독일어권 음악담론과 칸트의 주관화된 숭고개념
German-speaking Music Discourse Around 1800 and Kant’s Subjective Concept of the Sublime
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본고는 1800년 경 독일어권 음악담론이 판단력 비판으로 구체화된 칸트의 숭고이론을 흡수하여 ‘음악적 숭고’에 대한 새로운 개념을 도출한 사유의 과정을 추적하고 분석한다. 숭고를 ‘대상이 지닌 특성’으로 보았던 기존의 관점과 달리, 칸트는 숭고를 ‘주체의 정신 안에서 일어나는 작용’으로 본다. 칸트의 숭고개념을 예술에 적용하고자 한 당대 이론가들에게, 칸트의 이런 관점은 풀기 어려운 숙제를 던졌다. 숭고를 ‘주체’의 정신 안에서 일어나는 작용으로 보는 칸트의 이론과 달리, 예술이론에서의 숭고란 특정한 작품이라는 ‘대상’이 지닌 특질이었기 때문이다(2장). 본고는 이것이 당대 음악적 숭고에 대한 담론에도 혼선을 야기한 것으로 보고, 코흐의 ‘숭고’ 항목을 통해 당대 음악적 숭고담론이 어떠한 논리적인 난관을 마주 대하고 있었는지를 분석한다(3장). 다음으로 미카엘리스의 논의를 통해 당대의 지성이 이 난관을 어떻게 극복하였는지를 살피고, 그것이 음악비평에 남긴 결과를 살핀다. 미카엘리스는 ‘주체’의 정신 안에서 일어나는 숭고와 구체적인 음악적 특성이라는 ‘대상’ 사이에 ‘상상력의 확장과 실패’라는 매개를 넣는다(4장). 이를 통하여 ‘상상력의 확장과 실패’를 일으키는 음악적인 요소들이 음악적 숭고의 조건으로 부상하게 되며, 이것은 독일어권 음악계에서 기악음악을 중심으로 한 ‘클래식 음악의 이상(理想)’에 미학적인 정당성을 제공하는 결과를 낳는다(5장).
Abstract
This paper traces and analyzes the process of thinking that drew a new concept of ‘musical sublime’ by absorbing Kant’s sublime theory, which was embodied in the Critique of Judgment, in German-speaking music discourse around 1800. Contrary to the existing view that saw the sublime as ‘the characteristic of an object’, Kant sees the sublime as ‘acting within the mind of the subject’. For contemporary theorists who tried to apply Kant’s concept of the sublime to art, this view of Kant poses a difficult task to solve. This is because, unlike Kant’s theory, which sees the sublime as an action occurring within the mind of the ‘subject’, the sublime in art theory is a characteristic of the ‘object’ of a specific work (Chapter 2). This paper sees this as causing confusion in the discourse on the musical sublime at the time, and analyzes what logical difficulties the contemporary discourse on the musical sublime faced through Koch’s ‘sublime’ entry (Chapter 3). Next, through the discussion of Michaelis, the paper examines how the intellect of the time overcame this difficulty, and the results it left behind in music criticism. Michaelis inserts the mediation of ‘expansion and failure of imagination’ between the subjective sublime and the objective musical characteristics(Chapter 4). Through this, musical elements that cause ‘expansion and failure of imagination’ emerge as a condition of the musical sublime, which provides aesthetic justification for the ‘ideal of classical music’ centered on instrumental music in the German-speaking world(Chapter 5).
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